MUSIQUE DE LA GRECE ANTIQUE
MUSIQUE DE LA GRECE ANTIQUE MUSIQUE DE LA GRECE ANTIQUE
Music of Ancient Greece – p. 16 DICTIONARY OF INSTRUMENTS askros: a kind of krotala, clappers or castenets considered by some to be the same as or similar to another percussion instrument: the psithyra. askaules: bagpipe. The word appears in Roman times used by Martial. aulos: principal and most important wind instrument, played alone or combined with the voice or with stringed instruments, especially with the kithara. [See above.] Usually the aulos was used in pairs; the two auloi were called "twin auloi", also "double pipe". Each had its own mouthpiece. Sometimes the pipes of the two auloi were of equal length; sometimes one was longer than the other. Each aulos had a number of lateral finger holes called trèmata or trypèmata. The reed, made of cane, was called the glottis, glossis, or glossa. Due to the force required to blow the aulos, the auletai, as shown in vase-paintings, wore a feather band called the phorbeia or epistomis (in Latin: capistrum). Other names given to the aulos are: diopos: having two holes hemiopos: having half the number of holes hypotretos: pierced from below kalliboas: with fine tone mesokopos: of middle size paratretos: pierced sideways polytretos: having many holes polykampes: much-twisted polykompos: loud-sounding, sonorous polymekes: of great length polymeles and polymelpes: many-toned, capable of many melodies polyphthongos and polyphonos: many tones, sounds barybromos: with deep, strong sound barbitos, barbiton: a variety of the lyra but narrower and longer; consequently its strings were longer and its pitch lower. Other names are barmos, baromos and barymiton, the latter two mentioned by Sappho and Anacreon. calamos: the aulos made of the "calamus" reed.
Music of Ancient Greece – p. 17 canon: usually surnamed "the Pythagorean canon" because of its invention was atrributed to Pythagorus. It is a monochord used to determine the mathematical relationships of musical sounds. The canon is often taken for the monochord. chelys: primitive lyra, so-called because its soundbox was made from a tortoise shell. cymbala: two hollow, hemispherical metal plates of Asiatic origin, first used in the orgiastic cults of Cybele and later of Dionysos. Another word for cymbala is bakyllion or baboulion. Cymbalion, dimunitive of cymbalon, means a small cymbal. [See above left.] discos: metal disk or gong with a hole in the middle, suspended by a cord and struck with a hammer. dizygoi, dizyges auloi: double aulos; twin-auloi. echeion: mystical name for the cymbal in the cult of Demeter. Also echeia, or hemispheric vases of different sizes producing different sounds when played with a small stick. The word echeion means the sound-plate or sound-box of stringed instruments. elymos: kind of Phrygian aulos with two pipes of unequal length, of which the longer on the left was curved and bell-shaped, probably due to the insertion of a type of horn. embaterios aulos: aulos playing the embaterion melos or marching songs during a military march. emphysomena: wind instruments in general. The word is derived from physan (= "to blow"). enchorda, organa: stringed instruments in general which can be divided into the following families: a) lyra and kithara family: phorminx, kitharis and barbitos. b) psalterion family: magadis, pektis, sambyke, phoenix or phoenikon or lyro-phoenix, epigoneion, simikon and trigonon. c) lute family: trichordon, pandoura. Aristoxenus names as "foreign instruments" the phoenix, pektis, magadis, sambyke, trigonon, klepsiambos, skindapsos and enneachordon.
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Music of Ancient Greece – p. 16<br />
DICTIONARY OF INSTRUMENTS<br />
askros: a kind of krotala, clappers or castenets considered by some to be the same as<br />
or similar to another percussion instrument: the psithyra.<br />
askaules: bagpipe. The word appears in Roman times used by Martial.<br />
aulos: principal and most important wind instrument, played alone or combined with the<br />
voice or with stringed instruments, especially with the kithara. [See above.]<br />
Usually the aulos was used in pairs; the two auloi were called "twin auloi", also<br />
"double pipe". Each had its own mouthpiece. Sometimes the pipes of the two<br />
auloi were of equal length; sometimes one was longer than the other. Each aulos<br />
had a number of lateral finger holes called trèmata or trypèmata. The reed,<br />
made of cane, was called the glottis, glossis, or glossa. Due to the force<br />
required to blow the aulos, the auletai, as shown in vase-paintings, wore a<br />
feather band called the phorbeia or epistomis (in Latin: capistrum).<br />
Other names given to the aulos are:<br />
diopos: having two holes<br />
hemiopos: having half the number of holes<br />
hypotretos: pierced from below<br />
kalliboas: with fine tone<br />
mesokopos: of middle size<br />
paratretos: pierced sideways<br />
polytretos: having many holes<br />
polykampes: much-twisted<br />
polykompos: loud-sounding, sonorous<br />
polymekes: of great length<br />
polymeles and polymelpes: many-toned, capable of many melodies<br />
polyphthongos and polyphonos: many tones, sounds<br />
barybromos: with deep, strong sound<br />
barbitos, barbiton: a variety of the lyra but narrower and longer; consequently its<br />
strings were longer and its pitch lower. Other names are barmos, baromos and<br />
barymiton, the latter two mentioned by Sappho and Anacreon.<br />
calamos: the aulos made of the "calamus" reed.
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